0:00:04 > 0:00:06The Pavilion Theatre in Glasgow
0:00:06 > 0:00:10is one of the very last bastions of variety theatre in the UK.
0:00:10 > 0:00:14It is a beautiful theatre. It is ideal for a comedian.
0:00:14 > 0:00:18People feel it's their theatre, and the artists too, you know?
0:00:18 > 0:00:20It's a friendly, friendly atmosphere
0:00:20 > 0:00:22and acoustically, it's magnificent.
0:00:23 > 0:00:26I think you can sum the Pavilion up in one word...
0:00:26 > 0:00:27entertainment.
0:00:29 > 0:00:32We follow the making of the latest Pavilion panto,
0:00:32 > 0:00:36the Wizard of Never Woz, which has a distinct Glasgow theme.
0:00:36 > 0:00:40Instead of Dorothy coming from Kansas, she comes from Govan!
0:00:48 > 0:00:51- REPORTER:- 'Is this your favourite bit of the job?'
0:00:51 > 0:00:53Eh, I prefer locking up.
0:00:54 > 0:00:57Some days it's great, it's good fun. It's...
0:00:57 > 0:00:59It's variety.
0:00:59 > 0:01:00No two days are the same.
0:01:08 > 0:01:09Morning, ladies! Morning, boys!
0:01:09 > 0:01:11Morning.
0:01:11 > 0:01:14I think we give the people of Glasgow what they want,
0:01:14 > 0:01:15and not what they need.
0:01:15 > 0:01:17Some of the other venues round about
0:01:17 > 0:01:20tend to give them what THEY think they need.
0:01:20 > 0:01:23We like to give them what we think that they want.
0:01:25 > 0:01:28It's the man on the street that keeps us going, nothing else.
0:01:28 > 0:01:31We put on product, people come and see it,
0:01:31 > 0:01:33and at that, we're successful.
0:01:36 > 0:01:38We don't have great demarcation in here.
0:01:38 > 0:01:41Everybody's everybody here.
0:01:41 > 0:01:43I've got my two boys.
0:01:43 > 0:01:46One takes care of the technical side...
0:01:46 > 0:01:47one's the accountant.
0:01:47 > 0:01:49I do, kind of, other stuff as well,
0:01:49 > 0:01:52front of house, IT, computers, that kind of stuff.
0:01:52 > 0:01:54Predominantly accounts.
0:01:54 > 0:01:58Anything financial, they have to come to me to sign off on, so...
0:01:58 > 0:02:00When we both turned 16, we got told,
0:02:00 > 0:02:02"You're going to work, by the way."
0:02:02 > 0:02:05And that's it. We've both been here since.
0:02:05 > 0:02:06It's a good climb up here.
0:02:06 > 0:02:08We've always been asked, "Can you put a lift in?"
0:02:08 > 0:02:11Basically, as a listed building, we can't.
0:02:11 > 0:02:13This is...one of our royal boxes.
0:02:13 > 0:02:16This is the biggest one that we have.
0:02:16 > 0:02:19As you can see, the viewing's not the best, but...
0:02:19 > 0:02:21if you're wanting to show off, this is where you come.
0:02:21 > 0:02:24It's more so everybody in the theatre, as you can see,
0:02:24 > 0:02:25can see YOU...
0:02:25 > 0:02:28as opposed to you seeing what you're actually coming to see.
0:02:33 > 0:02:36Since the Pavilion opened its doors in 1904,
0:02:36 > 0:02:39it's been unashamedly a variety theatre.
0:02:41 > 0:02:42Coleman! Coleman!
0:02:43 > 0:02:47You go and tell your boss I'm Dorothy Paul's mother and I'm mad.
0:02:49 > 0:02:51There's a story about - before my time, of course -
0:02:51 > 0:02:55that the men who used to come off the yards,
0:02:55 > 0:02:58the shifts in the yards, they always had a bag of rivets.
0:02:58 > 0:03:01They came to the theatre and if they didn't like the turn that was on,
0:03:01 > 0:03:03they threw rivets at them.
0:03:03 > 0:03:06I'm glad to say, I've never had any thrown at me.
0:03:09 > 0:03:11When you walk onto the stage, you're standing on the spot
0:03:11 > 0:03:15where so many great comedians have already been,
0:03:15 > 0:03:18already softened your audience up for you...
0:03:18 > 0:03:22They're attuned to variety, they're attuned to comedians.
0:03:22 > 0:03:23The great Lex McLean,
0:03:23 > 0:03:26who practically made this theatre his very own,
0:03:26 > 0:03:28Francie and Josie...
0:03:28 > 0:03:32All the great comedians all lived here at the Pavilion,
0:03:32 > 0:03:34so it's a great tradition.
0:03:34 > 0:03:36Come tickle me here in Scotland! What about you, sir?
0:03:36 > 0:03:38Have you ever been tickled in the Trossachs?
0:03:38 > 0:03:39LAUGHTER
0:03:39 > 0:03:42You deliver a line and then hopefully get a laugh.
0:03:42 > 0:03:44That laughter is right on top of you.
0:03:44 > 0:03:46You can actually feel it hit your face, the warmth of it.
0:03:46 > 0:03:48It's like a... It's like a blow-dryer,
0:03:48 > 0:03:51and that's incredibly exciting to a comic.
0:03:55 > 0:03:56- How's Sharon?- Ah, she's grand.
0:03:56 > 0:03:59She's trying to lose a few pounds for her holidays.
0:03:59 > 0:04:02Oh, God, that's not easy for her.
0:04:02 > 0:04:03She has an overactive, em...
0:04:03 > 0:04:05- Thyroid?- ..knife and fork.
0:04:05 > 0:04:07'I think you can sum the Pavilion up in one word...
0:04:07 > 0:04:09'entertainment.'
0:04:10 > 0:04:12Entertainment, that's what it's about.
0:04:12 > 0:04:14The horrible 'E' word, actually.
0:04:14 > 0:04:16A lot of theatres don't like that word.
0:04:16 > 0:04:20And the Pavilion is pure and absolute entertainment.
0:04:26 > 0:04:28There's not many places of entertainment left
0:04:28 > 0:04:31for what I call the ordinary working people.
0:04:31 > 0:04:35At one time, there were something like 18 theatres in Glasgow,
0:04:35 > 0:04:38when I first started as a boy.
0:04:38 > 0:04:41And now, there's only one variety theatre left in Scotland
0:04:41 > 0:04:43and that's...and that's in here.
0:04:48 > 0:04:49I'm sitting here now
0:04:49 > 0:04:51and I'm impressed all over again with the theatre.
0:04:51 > 0:04:54They just don't build them any more do they?
0:04:54 > 0:04:57They just... They build theatres, but they're big square boxes.
0:04:59 > 0:05:04# I'll cling to a dream
0:05:04 > 0:05:07# From afar... #
0:05:10 > 0:05:15This theatre is one of the best I've ever performed in,
0:05:15 > 0:05:17acoustically, for beauty, for...
0:05:19 > 0:05:21..for the audiences.
0:05:25 > 0:05:28APPLAUSE
0:05:28 > 0:05:32Entertainment-wise, the Pavilion audience are very well educated
0:05:32 > 0:05:34and if it's a piece of pish, they'll let you know.
0:05:38 > 0:05:40The Pavilion has stayed true to its audience
0:05:40 > 0:05:43in providing genuine variety theatre in Glasgow,
0:05:43 > 0:05:46with panto being a regular part of that.
0:05:46 > 0:05:49Tickets for the panto went on sale back in February,
0:05:49 > 0:05:51and it's clearly a popular show.
0:05:51 > 0:05:53The Wizard of Oz...
0:05:54 > 0:05:57It's probably one of my favourites to do...
0:05:57 > 0:06:02because it's...it's...it's kept in the Wizard of Oz,
0:06:02 > 0:06:04but we call it the Wizard of Never Woz,
0:06:04 > 0:06:06so we can make it from Glasgow.
0:06:06 > 0:06:08RADIO: # Clyde One #
0:06:08 > 0:06:10'On the M8 heading eastbound,
0:06:10 > 0:06:13'traffic slow-moving at Junction 22 Plantation...'
0:06:13 > 0:06:17Clyde One Jambusters, the number is 0845 900 1025.
0:06:17 > 0:06:20'And that's the latest from 102.5 Clyde One.'
0:06:21 > 0:06:23I've never been in a pantomime before.
0:06:23 > 0:06:24This'll be my first panto.
0:06:24 > 0:06:27I've been in a lot of musical theatre. This'll be my first panto.
0:06:27 > 0:06:30I'll be Dorothy in the Wizard of Never Woz at the Pavilion.
0:06:30 > 0:06:32I'm actually really terrified.
0:06:32 > 0:06:35He's a big gentle soul, you know.
0:06:35 > 0:06:37A bit like myself, you know,
0:06:37 > 0:06:39and he's nervous, like myself.
0:06:39 > 0:06:42Once you see the costume... It's a beautiful costume, you know,
0:06:42 > 0:06:45and it looks fantastic, and I feel like a lion, you know.
0:06:45 > 0:06:47I feel like a lion.
0:06:47 > 0:06:49Well, playing the Tin Man, panto-wise,
0:06:49 > 0:06:52I usually play the... stupid character
0:06:52 > 0:06:54because it's not a long journey for me.
0:06:54 > 0:06:56I'm horrendously nervous. I'm a nervous person.
0:06:56 > 0:06:59Sometimes I wonder why I do it.
0:06:59 > 0:07:02Eh...my part in the panto this year is Strawsuit Bob,
0:07:02 > 0:07:05as opposed to Shellsuit Bob that I play in River City.
0:07:05 > 0:07:07It's basically just the scarecrow,
0:07:07 > 0:07:09and it's the second time I've played the Scarecrow,
0:07:09 > 0:07:12so I'm quite familiar with the role, but looking forward to it.
0:07:12 > 0:07:15I mean, I shoot a scene here on River City,
0:07:15 > 0:07:17don't know if it's good until it goes out,
0:07:17 > 0:07:19but there, especially with a Pavilion audience,
0:07:19 > 0:07:22they're a unique audience, you know if you're doing a good job,
0:07:22 > 0:07:25they'll let you know if you're good or not so good.
0:07:25 > 0:07:27This is my very, very first year in panto.
0:07:27 > 0:07:30My panto debut at the Pavilion this year,
0:07:30 > 0:07:33and I am playing the Good Witch Glinda.
0:07:33 > 0:07:35I think by the time opening night comes around,
0:07:35 > 0:07:38I think I'll just be so nervous that it's going to go OK.
0:07:38 > 0:07:40I'll be looking forward to the curtain coming down
0:07:40 > 0:07:41and it's all over.
0:07:47 > 0:07:51The Pavilion first put on this panto four years ago.
0:07:51 > 0:07:54The scenery was then stockpiled in their prop store,
0:07:54 > 0:07:56along with decades of others.
0:08:00 > 0:08:02I never throw anything out, because I always think,
0:08:02 > 0:08:05"Oh, we'll use that the next time."
0:08:05 > 0:08:08In terms of the scenery, we're making a lot new,
0:08:08 > 0:08:12but we're using some from before from Wizard of Never Woz,
0:08:12 > 0:08:14and refurbishing it,
0:08:14 > 0:08:17and the plan today is working on the waterfall,
0:08:17 > 0:08:19Robbie's working on the haunted village,
0:08:19 > 0:08:22these two don't look as if they're doing anything,
0:08:22 > 0:08:24they're being lazy. I think they're just here for the camera.
0:08:24 > 0:08:26Oh, I've got the fun job.
0:08:26 > 0:08:29- I get to play with toys all day. - HE CHUCKLES
0:08:29 > 0:08:33But mostly, I source unusual props for the production, you know,
0:08:33 > 0:08:35as well as create illusions.
0:08:35 > 0:08:41I've got, like, an...effect where the scarecrow gets crushed
0:08:41 > 0:08:44and then stretched, so in the next scene he's about seven foot tall.
0:08:44 > 0:08:46The idea of the waterfall
0:08:46 > 0:08:51is actually to project the image...of the wizard
0:08:51 > 0:08:52onto the waterfall.
0:08:53 > 0:08:55Sounds...sounds good.
0:08:55 > 0:08:57Whether it will work or not is a different thing!
0:08:57 > 0:09:00- BLEEP- off!- BLEEP- off!
0:09:00 > 0:09:03You just create a world of magic in here. You know, it's....
0:09:03 > 0:09:04This, this thing here...
0:09:04 > 0:09:08The fairy comes out of this at...Christmas.
0:09:08 > 0:09:09It's magic!
0:09:10 > 0:09:11Allegedly...
0:09:13 > 0:09:16- Two coats, I'm giving it, Iain? - Aye, two coats, aye.
0:09:17 > 0:09:19Did you give it a good stir?
0:09:19 > 0:09:22- Aye.- Up from the bottom, yeah? - Aye, it's well stirred.
0:09:22 > 0:09:24MOBILE RINGS SONG: "My Generation"
0:09:24 > 0:09:26Hello?
0:09:26 > 0:09:28Give me a... I'll phone Alan and see what he says.
0:09:28 > 0:09:30OK, all right, bye.
0:09:30 > 0:09:32We do everything in-house.
0:09:32 > 0:09:34Other people farm things out to this one,
0:09:34 > 0:09:37and they don't get the... the feel of it.
0:09:37 > 0:09:40We keep the ticket sales in-house, we do all the promotion,
0:09:40 > 0:09:43and we do all the building of the scenery and costumes.
0:09:43 > 0:09:45So, you're in control of it all.
0:09:45 > 0:09:47Do the green outline, and let's get this all done,
0:09:47 > 0:09:49cos you're spilling it everywhere.
0:09:49 > 0:09:51As well as planning all the magic this year,
0:09:51 > 0:09:54Chris De Rosa is also performing on stage.
0:09:55 > 0:09:58This'll be my fifth panto at the Pavilion,
0:09:58 > 0:10:01so I'm really, as always, looking forward to that as well.
0:10:01 > 0:10:05And I get to be a villain, which is probably the best, you know.
0:10:05 > 0:10:10I play this character called Egor, who is one of the witch's sidekicks.
0:10:10 > 0:10:15The role I'm playing in panto this year is the Wicked Witch of the West.
0:10:15 > 0:10:19It's kind of done like she makes the balls, but I fire them,
0:10:19 > 0:10:22quite literally, because I'll be throwing fireballs at the cast.
0:10:22 > 0:10:24HE CHUCKLES
0:10:24 > 0:10:26Which is quite good fun,
0:10:26 > 0:10:29cos you never know where they're going to land.
0:10:29 > 0:10:34Perhaps she's going to be a bit less scary than she was the last time,
0:10:34 > 0:10:36and more a bit of a daft witch.
0:10:36 > 0:10:40The Wicked Witch has got two henchmen called Dumb and Dumber.
0:10:40 > 0:10:42I know I am either Dumb, or Dumber.
0:10:42 > 0:10:44And I'm, eh, Dumber.
0:10:44 > 0:10:46I'm not sure why...the reason why I got the Dumber part,
0:10:46 > 0:10:49but every character I play is a daft, dumb,
0:10:49 > 0:10:51big glaikit, stupid-looking guy,
0:10:51 > 0:10:52so I don't know what he's trying to tell me.
0:10:52 > 0:10:54They don't...
0:10:54 > 0:10:58generate much personality apart from stupidity, usually.
0:10:58 > 0:11:02And I think I've no worries about creating that on stage.
0:11:06 > 0:11:09In previous years, the Pavilion has held open auditions
0:11:09 > 0:11:13to find young dancers to perform in the panto.
0:11:13 > 0:11:17This year, Iain has taken a more direct approach.
0:11:17 > 0:11:20They're all better than the usual couple of hundred we were getting.
0:11:20 > 0:11:22They're all dancing the same way,
0:11:22 > 0:11:25they've all been taught the same way, so it makes it easier.
0:11:25 > 0:11:30All these dancers are students of the choreographer Robert Hamilton.
0:11:30 > 0:11:34Robert's dancers are completely different. He's really hard on them.
0:11:34 > 0:11:37I thought I was hard with people, but he really has a go at them,
0:11:37 > 0:11:39but he gets the best out of them.
0:11:39 > 0:11:43I would worry about that big boy. I don't like him.
0:11:43 > 0:11:45- What age is he, anyway?- 16.
0:11:45 > 0:11:47Unless we have a big boy in each group,
0:11:47 > 0:11:51you're going to be stuck with a costume that's meant for a girl.
0:11:51 > 0:11:53That's all I would worry about with him.
0:11:53 > 0:11:54I think he's brilliant.
0:11:54 > 0:11:57Aye, he is good, but it's just the costume.
0:11:57 > 0:12:01I mean, the boy can dance, there's no doubt about it.
0:12:01 > 0:12:03With Iain's decision made,
0:12:03 > 0:12:06it's down to Lynsey, one of the choreographers,
0:12:06 > 0:12:07to break the bad news.
0:12:13 > 0:12:16Do you think that's right, putting all the ugly ones in the same group?
0:12:16 > 0:12:19Which group was that I was talking about then, eh?
0:12:19 > 0:12:22HE LAUGHS
0:12:22 > 0:12:24Only kidding.
0:12:24 > 0:12:25I think this year you'll see flips
0:12:25 > 0:12:28and things that you don't normally see in panto,
0:12:28 > 0:12:32and I think the Wizard of Oz or the Wizard of Never Woz...
0:12:32 > 0:12:35We need that kind of difference in the dance.
0:12:35 > 0:12:36People love dance now,
0:12:36 > 0:12:38because they see it so much on the telly.
0:12:38 > 0:12:41And bringing it live to the theatre is great.
0:12:43 > 0:12:45Unlike most theatre managers,
0:12:45 > 0:12:48Iain makes it his business to get involved
0:12:48 > 0:12:51in almost every aspect of putting on a show.
0:12:51 > 0:12:54He paints the sets, he builds the sets...
0:12:54 > 0:12:55He's lighting the pantomime...
0:12:55 > 0:12:57..he writes, he directs...
0:12:57 > 0:12:59..he's doing the publicity...
0:12:59 > 0:13:02And he's always got new ideas. Try that, do that differently...
0:13:02 > 0:13:05Right, we want to change this wee bit...
0:13:05 > 0:13:08Put in this line here and there... His mind never stops.
0:13:08 > 0:13:10His hand's in everything, so it is,
0:13:10 > 0:13:14from backstage to front of house to the box office.
0:13:14 > 0:13:16I mean, he controls everywhere, so he does.
0:13:16 > 0:13:18Very often, and this is not an exaggeration,
0:13:18 > 0:13:20I'd go down, and say, "Where's Iain?"
0:13:20 > 0:13:21"In the toilet." "Oh, I'll wait for him."
0:13:21 > 0:13:23"No, no, he's cleaning it."
0:13:23 > 0:13:26And he's down there... "They didn't do it properly."
0:13:29 > 0:13:30Back at the prop store,
0:13:30 > 0:13:33Iain and his team take a delivery of wood,
0:13:33 > 0:13:35but it's up to them to unload the lorry,
0:13:35 > 0:13:37as the driver's not allowed help them.
0:13:39 > 0:13:41Says he's not allowed to touch it.
0:13:42 > 0:13:43- BLEEP- arse.
0:13:43 > 0:13:47- He's saying the company won't insure him to touch it.- Aye, I heard it.
0:13:47 > 0:13:49Allergic to wood.
0:13:49 > 0:13:50Aye, carrying it!
0:13:56 > 0:13:59Next time you see this, it'll be the yellow brick road.
0:13:59 > 0:14:01Watch this space.
0:14:08 > 0:14:12When you think, the things in here start off like that,
0:14:12 > 0:14:14and that's how it goes out,
0:14:14 > 0:14:18and you see that on the stage and you see a whole set of it together,
0:14:18 > 0:14:21it's just... It's a world of magic in here.
0:14:21 > 0:14:24Coming through here is Aladdin's cave of costumes,
0:14:24 > 0:14:25you can get anything in here.
0:14:25 > 0:14:30All sizes, all shapes, dating back to probably the early '20s,
0:14:30 > 0:14:32right through until panto costumes.
0:14:32 > 0:14:34I throw nothing out,
0:14:34 > 0:14:38and in there is a room full of animal costumes, up the top,
0:14:38 > 0:14:40all different giraffes, just stacked full of costumes.
0:14:40 > 0:14:42And going through into this room here,
0:14:42 > 0:14:44and this is more period costumes,
0:14:44 > 0:14:46it's great to be able to come in here and say,
0:14:46 > 0:14:48"Well, we've got costumes like that."
0:14:48 > 0:14:50'Is it easy to find the ones you want?'
0:14:50 > 0:14:51No! Never.
0:14:56 > 0:14:59One of the few things the Pavilion doesn't do in-house
0:14:59 > 0:15:02is the design and manufacture of the costumes for the panto.
0:15:04 > 0:15:09That job falls to Iain's long-term collaborator, Antony Johns,
0:15:09 > 0:15:12now based in the midst of Blackpool's Pleasure Beach.
0:15:12 > 0:15:14A crazy place to have an office,
0:15:14 > 0:15:16right in the middle of the hub of the park, on a roller coaster,
0:15:16 > 0:15:19is where the wardrobe department is. Fantastic!
0:15:19 > 0:15:21We're changing all the dancers' costumes
0:15:21 > 0:15:23because they're doing them as the Munch Bunch...
0:15:23 > 0:15:25- PHONE RINGS - ..sort of a more street cred...
0:15:25 > 0:15:27Sorry, phone's ringing as ever.
0:15:27 > 0:15:29Hello?
0:15:31 > 0:15:33I'm changing all the dancers' costumes,
0:15:33 > 0:15:36cos they're going to do it more like a Diversity-type group.
0:15:36 > 0:15:39I'm working on designs for that to go with these,
0:15:39 > 0:15:42so we can interact them all together.
0:15:42 > 0:15:45We're going to start refurbing the Tin Man,
0:15:45 > 0:15:46which is a fantastic costume,
0:15:46 > 0:15:50but when it's all done, re-painted, re-glossed and everything,
0:15:50 > 0:15:51it'll look brand new,
0:15:51 > 0:15:54so that's what the girls are working on now.
0:15:56 > 0:15:59This is all the fabric, so it's tonnes and tonnes of it.
0:15:59 > 0:16:00And this is where you get inspired
0:16:00 > 0:16:02to do all the costumes that you're doing.
0:16:05 > 0:16:08I've got Michelle McManus's costumes to do.
0:16:08 > 0:16:11I've already started on it and now I've got to do version two,
0:16:11 > 0:16:13because there was a slight problem.
0:16:13 > 0:16:14That's showbiz.
0:16:14 > 0:16:18The development of my costume has been a bit of a drama actually,
0:16:18 > 0:16:21cos, initially, I was put into a trouser suit.
0:16:21 > 0:16:24Iain wanted her to be a modern fairy, but...
0:16:24 > 0:16:28Michelle is of a... voluptuous size...
0:16:28 > 0:16:29Michelle's like me, she's a big girl.
0:16:29 > 0:16:32As you can tell, I'm not a natural athlete.
0:16:32 > 0:16:35Well, I'm not a girl. But, you know. She's big.
0:16:35 > 0:16:38I thought flared trousers, loose top, top in the middle, belt in,
0:16:38 > 0:16:41so I did the trousers, but because they didn't fit her...
0:16:41 > 0:16:44So, you get those awful measurement sheets,
0:16:44 > 0:16:47where people might fib a little bit.
0:16:47 > 0:16:48It didn't look good on her.
0:16:48 > 0:16:50I just was... I just looked awful in it,
0:16:50 > 0:16:53and I had to go back and speak to Iain, who was lovely,
0:16:53 > 0:16:55and I said, "You know, Iain, I'm the fairy godmother.
0:16:55 > 0:16:58"Can we put me in a ball gown? Can we put me in a dress?"
0:16:58 > 0:17:00And I thought, will I alter it? Will I add bits in?
0:17:00 > 0:17:02No, we'll make her a new one.
0:17:02 > 0:17:04And now I'm going to make... I've just bought the fabric...
0:17:04 > 0:17:07I'm going to draw the drawing in a minute, of a dress...
0:17:09 > 0:17:13So, this will take up to 15 metres of fabric
0:17:13 > 0:17:15just for the dress, and then I had to...
0:17:15 > 0:17:17Because I wanted it sparkly...
0:17:17 > 0:17:19another 15 metres.
0:17:19 > 0:17:21That's 30 metres of fabric she's wearing.
0:17:21 > 0:17:24- I don't think Iain's going to like the bill for this one! - HE LAUGHS
0:17:24 > 0:17:26It'll be this colour, with that over the top.
0:17:26 > 0:17:29So, she's going to sparkle and be a pretty fairy.
0:17:29 > 0:17:33So, I'll do big sleeves and make that a zigzag there,
0:17:33 > 0:17:36for the jacket over the top, that breaks it up a little bit,
0:17:36 > 0:17:39and then I do an empire line there...
0:17:39 > 0:17:41and she's got her quirky top hat,
0:17:41 > 0:17:44with the wings on the back and a rainbow.
0:17:44 > 0:17:47This is Michelle's hat, that we're creating at the moment
0:17:47 > 0:17:49to make it a bit more modern,
0:17:49 > 0:17:52and then we're going to put fairy lights around the edge
0:17:52 > 0:17:53so it lights up as well,
0:17:53 > 0:17:55and then she'll have a wand that lights up.
0:17:55 > 0:17:57Oh, Jo, did I tell you about a wand?
0:17:57 > 0:17:58No? Right, OK.
0:18:00 > 0:18:02So, it's trying to make her look more modern than a...
0:18:02 > 0:18:06Cos otherwise, she'll look...she'll just look like a ginormous puffball.
0:18:06 > 0:18:08So, er, trying to slim her down as much as I...
0:18:08 > 0:18:11Well, she will! I can't help it.
0:18:11 > 0:18:12She's a big girl, bless her.
0:18:18 > 0:18:22I remember, I think I was about four or five, in my first panto,
0:18:22 > 0:18:25and it was my mum, and my gran, and my aunties...
0:18:25 > 0:18:27Panto is, in many people's case,
0:18:27 > 0:18:30the only time they will ever go into a theatre.
0:18:30 > 0:18:33My mum said that my eyes were like saucers,
0:18:33 > 0:18:34I'd never seen anything like it.
0:18:34 > 0:18:37Obviously, it's mostly kids that come to see it,
0:18:37 > 0:18:39so you just feed off the energy, cos they're totally hyper,
0:18:39 > 0:18:42Glasgow kids with all the E numbers and sweeties
0:18:42 > 0:18:45and diet Irn Bru and Coke and that, and they're just hyper,
0:18:45 > 0:18:48all the kids are hyper, so we feed off that as well.
0:18:48 > 0:18:51The jaw was to the ground, I couldn't understand what was happening.
0:18:51 > 0:18:54It was just all the colour and the magic and the...
0:18:54 > 0:18:57"Really, it IS behind you! This baddy's coming behind you,
0:18:57 > 0:18:59"why can't you see that he's coming up?"
0:18:59 > 0:19:01They want to enjoy themselves, they want to trust you,
0:19:01 > 0:19:03they want you to take them by the hand
0:19:03 > 0:19:05and perform a fairy story
0:19:05 > 0:19:07that maybe they remember from their childhood
0:19:07 > 0:19:10or some children are experiencing for the first time.
0:19:10 > 0:19:12One of the most exciting things, I think, of your childhood,
0:19:12 > 0:19:15and weirdly, probably one of my very first memories
0:19:15 > 0:19:16is going to a pantomime.
0:19:23 > 0:19:28This is where we fly all the scenery onto the stage and off the stage.
0:19:28 > 0:19:30- Bar going out!- OK.
0:19:30 > 0:19:33We've put a bit of tape around the rope, so we know when to stop,
0:19:33 > 0:19:37when the...whatever it is we're flying out,
0:19:37 > 0:19:40is at the position we want it at, you know.
0:19:40 > 0:19:42It means I stop it at the top of the break there.
0:19:42 > 0:19:44And that's you.
0:19:44 > 0:19:46We're just emptying the bars, you know,
0:19:46 > 0:19:49so we can get some room for the pantomime cloths.
0:19:49 > 0:19:53There's probably about eight full cloths.
0:19:53 > 0:19:56Because they've been lying in the workshops for a few years,
0:19:56 > 0:19:58the folds and that get stuck in them,
0:19:58 > 0:20:01so they just need time to stretch out again.
0:20:01 > 0:20:04This is probably the job that takes the longest, you know,
0:20:04 > 0:20:06when we're bringing the rest of the set in,
0:20:06 > 0:20:09so getting it out of the way sooner rather than later's better.
0:20:09 > 0:20:11These don't look anything special just now.
0:20:11 > 0:20:14It's not until you light them they start to take shape.
0:20:15 > 0:20:18These...eyes are all great.
0:20:18 > 0:20:20These all light up, UV.
0:20:20 > 0:20:23This is the one for the haunted forest.
0:20:23 > 0:20:27So, it needs to look evil at times,
0:20:27 > 0:20:30but also be friendly at other times.
0:20:30 > 0:20:32Aye, aye, we've got some of the back cloths up,
0:20:32 > 0:20:36and the mid-stage cloths up, if you know what I mean,
0:20:36 > 0:20:39so we're now going to the front ones the now,
0:20:39 > 0:20:41but...you can decide what you need.
0:20:41 > 0:20:44All right, see you later.
0:20:44 > 0:20:45A normal cloth in the old days
0:20:45 > 0:20:48would take you anything from four to six weeks to paint,
0:20:48 > 0:20:50would take about £6,000 to...
0:20:51 > 0:20:54Time you took the time and the people working on it.
0:20:54 > 0:20:56You can actually turn a cloth round now,
0:20:56 > 0:21:00do the line drawing in a day, do the colouring in a day,
0:21:00 > 0:21:02print it in a day and get it back.
0:21:02 > 0:21:05You can get a cloth printed for about £2,500.
0:21:05 > 0:21:07We do things oversize, you know?
0:21:07 > 0:21:09Things become bigger than life.
0:21:09 > 0:21:11They're not... I say to the artist, "Don't do it in proportion,"
0:21:11 > 0:21:15because that wee worm in proportion would...would be tiny.
0:21:15 > 0:21:17So I say, "Make everything bigger."
0:21:17 > 0:21:20Make animals and things bigger, a wee bit like Disney would do it.
0:21:20 > 0:21:22Make the animals bigger than life.
0:21:22 > 0:21:24I think to get the magic of panto,
0:21:24 > 0:21:26you've got to make these things look bigger, you know.
0:21:26 > 0:21:29As opening night draws closer,
0:21:29 > 0:21:32it's time for the choreographer, Robert Hamilton,
0:21:32 > 0:21:35to rehearse Iain's chosen dancers for the first time.
0:21:38 > 0:21:42The main thing tonight is to get the kids introduced to each other
0:21:42 > 0:21:46and get a feel for what these kids are going to be like as a group.
0:21:46 > 0:21:49They all come from completely different walks of life
0:21:49 > 0:21:52and trying to gel that together can be quite hard work.
0:21:54 > 0:21:55Hello.
0:21:55 > 0:21:59'I think the thing I hate the most is...lazy people.'
0:21:59 > 0:22:01It's very difficult to work with children,
0:22:01 > 0:22:04but it's really difficult to motivate kids
0:22:04 > 0:22:08if they have a...natural laziness within them.
0:22:08 > 0:22:10One, two, three, four.
0:22:10 > 0:22:12Out and pop, out and pop!
0:22:12 > 0:22:14OK, so, not very good.
0:22:15 > 0:22:17Mark, I want you to go dive, row,
0:22:17 > 0:22:19then you just need to do the same as the girls
0:22:19 > 0:22:21but you don't need to hit it like that...
0:22:21 > 0:22:24Uh huh, smash it to the front. So, that happens on eight.
0:22:24 > 0:22:26Girls, this happens on eight. No, don't just do this, girls.
0:22:26 > 0:22:28Look. Eh. Eh. Eh.
0:22:28 > 0:22:31Out, in. Out, IN, out.
0:22:31 > 0:22:35Six, seven, eight. Out, in... Girls, look.
0:22:35 > 0:22:37Flick it out.
0:22:37 > 0:22:39IN, out.
0:22:39 > 0:22:43The work involved putting this together is tremendous. It's huge.
0:22:43 > 0:22:45There's 25 kids.
0:22:45 > 0:22:48Four different groups. Five reserves.
0:22:48 > 0:22:49There's... It's a lot.
0:22:49 > 0:22:52They've got to learn so many different routines...
0:22:52 > 0:22:54Wait. Wait. Jump, jump, ha!
0:22:54 > 0:22:55Bum, bum, bum.
0:22:55 > 0:22:57Guns. Head!
0:22:57 > 0:22:59It's going to be a learning curve for the kids,
0:22:59 > 0:23:01which will make it a learning curve for myself.
0:23:01 > 0:23:03So, what count do we do this on?
0:23:03 > 0:23:05- ALL: Eight.- Eight!
0:23:05 > 0:23:07Come on, girls, you're here.
0:23:07 > 0:23:08You need to waken up!
0:23:08 > 0:23:11One and two and three, four.
0:23:11 > 0:23:13It's a bit poor, because you're not getting tight.
0:23:13 > 0:23:16'I think it's important that the kids are encouraged,'
0:23:16 > 0:23:18with it being the first rehearsal tonight,
0:23:18 > 0:23:20but I do think as well, at the same time,
0:23:20 > 0:23:23it's really important to lay down a few rules from the beginning
0:23:23 > 0:23:26so that opening night's not a nightmare.
0:23:26 > 0:23:28Side, side, side, side.
0:23:28 > 0:23:30Ah, ah, ah. Ah, ah, ah.
0:23:30 > 0:23:32One, two, three, four,
0:23:32 > 0:23:34five, six, seven, eight.
0:23:34 > 0:23:36Move. Ha. Ha, ha.
0:23:36 > 0:23:37Boom, ha, ha.
0:23:37 > 0:23:39Eight. One.
0:23:39 > 0:23:41Four!
0:23:41 > 0:23:44Boom! Ha. One, two, three, four...
0:23:44 > 0:23:46Day one, Robert tells them what he wants,
0:23:46 > 0:23:48when he wants it and they will do it.
0:23:48 > 0:23:50And the kids appreciate it, I think.
0:23:50 > 0:23:55I think kids nowadays don't have that discipline in walks of life,
0:23:55 > 0:23:58they don't have it in school as much as they used to
0:23:58 > 0:24:00and they don't have it in general terms,
0:24:00 > 0:24:03so, in...something like that,
0:24:03 > 0:24:05Robert is disciplined from the word go.
0:24:05 > 0:24:08It's great, cos when they come into the theatre, it's fully disciplined,
0:24:08 > 0:24:10they're as disciplined as the adult dancers,
0:24:10 > 0:24:12probably more so than the adult dancers.
0:24:15 > 0:24:19Back at the props store, the final touches are being made
0:24:19 > 0:24:22to the scenery and props for the pantomime.
0:24:22 > 0:24:24I'm making the witch's broomstick.
0:24:25 > 0:24:28Making it a wee bit more magical than a standard broomstick.
0:24:28 > 0:24:32Trying to make it light up with these neon things,
0:24:32 > 0:24:36so that it looks a wee bit more mystical when it goes to blackout.
0:24:36 > 0:24:37Just watch the drips, Robbie.
0:24:37 > 0:24:39That was...
0:24:41 > 0:24:42That...um...
0:24:45 > 0:24:48- I'm not going to get this- BLEEP - opened, I can tell...
0:24:48 > 0:24:49Just working on the waterfall.
0:24:49 > 0:24:51Should be ready to run any moment now.
0:24:57 > 0:24:59Well, a couple of wee adjustments...
0:25:00 > 0:25:02Couple of Munchkins with mops, it'll be brand new.
0:25:02 > 0:25:04HE LAUGHS
0:25:04 > 0:25:06Last time we had something like this, it was for...
0:25:06 > 0:25:08We had the Chippendales at the theatre.
0:25:08 > 0:25:10So, we had these showers,
0:25:10 > 0:25:12and it was barrels on top of the...
0:25:12 > 0:25:14the thing that had to be filled with water.
0:25:14 > 0:25:18They went into the shower, took their tops off, and girls went crazy.
0:25:18 > 0:25:20So, the boys were instructed,
0:25:20 > 0:25:24lukewarm water, put it in at the interval, and that's it.
0:25:24 > 0:25:26So, the Chippendales were all...
0:25:26 > 0:25:29Every night, first ten nights everything was great...
0:25:29 > 0:25:33I think one of them became a... MOBILE RINGS
0:25:33 > 0:25:37Always happens. One of them became a pain in the backside,
0:25:37 > 0:25:40so Davey and Laurie, who was the production manager at the time,
0:25:40 > 0:25:43decided they would get their own back.
0:25:43 > 0:25:47So, instead of hot water in the barrels, it was freezing cold water.
0:25:47 > 0:25:50And the Chippendales shrunk. HE LAUGHS
0:25:52 > 0:25:54The flames are going the wrong way.
0:25:54 > 0:25:56This is the bottom.
0:25:56 > 0:25:57Your flames are coming...
0:25:59 > 0:26:00..that way.
0:26:02 > 0:26:04Do you know what I mean? Up to the top.
0:26:04 > 0:26:07Aye that's the...that's the cut-out. That's the cut-out.
0:26:07 > 0:26:11I know, it's just you've complicated it with what you're...
0:26:11 > 0:26:12Right. OK?
0:26:12 > 0:26:14'I've probably done every job in our theatre,
0:26:14 > 0:26:18'and I think that's probably why I can hound everybody,
0:26:18 > 0:26:21'because I can do their job if it comes to it.'
0:26:21 > 0:26:25No, that...that needs a dry brush of just straight orange over the top,
0:26:25 > 0:26:26once it's finished, you know.
0:26:26 > 0:26:29A wee bit of red just straight, you know.
0:26:29 > 0:26:30Very...
0:26:30 > 0:26:32Just to bring the colour out in it.
0:26:32 > 0:26:35- And leave some round the outside for green.- Aye.
0:26:36 > 0:26:39Yeah, nine years Robbie's been...
0:26:39 > 0:26:41suffering here. ROBBIE LAUGHS
0:26:43 > 0:26:46- 'Is it that bad, Robbie?' - No, no, no, no, no. No, not at all.
0:26:46 > 0:26:50- Oh, it is. Trust me, it is. It- BLEEP- is.
0:26:50 > 0:26:51It's bad.
0:26:53 > 0:26:55'So, are you a wee bit of a control freak?'
0:26:55 > 0:26:57Absolutely. Absolutely!
0:26:57 > 0:27:00All the time. I ain't going to deny it, yeah.
0:27:00 > 0:27:02Yeah, I'm...I'm in control.
0:27:02 > 0:27:06He has the charm of a charging rhinoceros.
0:27:06 > 0:27:08I know people say he's a monster and all that.
0:27:08 > 0:27:11Yeah, he can be! He can be really tough and a bully...
0:27:11 > 0:27:12Do you want to see the bruises?
0:27:14 > 0:27:16If you want to mess, he'll mess with you.
0:27:16 > 0:27:19And he'll more than mess with you. He'll meet you more than halfway.
0:27:19 > 0:27:22When I'm here, I'm in control and I'm....
0:27:22 > 0:27:26Yeah, a pain in the arse at times but, you know, here...
0:27:26 > 0:27:29We're still here, the Pavilion's still here and, I think...
0:27:29 > 0:27:32it's not being big-headed, but if I wasn't a control freak,
0:27:32 > 0:27:35then I don't know if the Pavilion would have survived.
0:27:42 > 0:27:45The key to the Pavilion's survival is its audience,
0:27:45 > 0:27:47and knowing what they want to see.
0:27:48 > 0:27:50It's hard to know what shows are selling out there,
0:27:50 > 0:27:51to be honest with you.
0:27:51 > 0:27:53Every show's a gamble.
0:27:53 > 0:27:55Some of the other theatres have got bigger stages,
0:27:55 > 0:27:58so we've kind of lost out on some of the bigger shows,
0:27:58 > 0:28:00but I think we get the better shows.
0:28:05 > 0:28:08Here we go. Row G for golf, seats nine and ten.
0:28:08 > 0:28:12We have a returning audience, so they...
0:28:12 > 0:28:13Obviously the shows that we get,
0:28:13 > 0:28:16we get quite a lot of people coming back to see the same shows.
0:28:16 > 0:28:18That's what people like, as well, cos they're always saying
0:28:18 > 0:28:22that they like that the Pavilion's still old-style,
0:28:22 > 0:28:24and they love coming to the building.
0:28:24 > 0:28:26It's always feel-good shows.
0:28:26 > 0:28:29Every show that they do, if you ask any Pavilion punter that walks out,
0:28:29 > 0:28:31they'll always tell you it's an amazing show,
0:28:31 > 0:28:33they've had a fantastic night,
0:28:33 > 0:28:35they all got up, they sing along, they dance
0:28:35 > 0:28:37and it's all kind of stuff that they know,
0:28:37 > 0:28:40so they cater for their audience really well.
0:28:40 > 0:28:43It's a nice theatre, this. Very nice, aye.
0:28:43 > 0:28:46And they get great entertainers in here.
0:28:46 > 0:28:48Even Ken Dodd was in here a while ago,
0:28:48 > 0:28:51- and he's about 82 years old! - HE CHUCKLES
0:28:54 > 0:28:57They're better than any audience anywhere in Britain.
0:28:57 > 0:29:00Well, that means anywhere in the world.
0:29:00 > 0:29:04They're the most warm-hearted and generous audiences.
0:29:04 > 0:29:06They're ready to laugh. They want to laugh.
0:29:06 > 0:29:08They have wonderful chuckle muscles,
0:29:08 > 0:29:11so they want to, really want to... They want to be tickled.
0:29:11 > 0:29:13It has an atmosphere it's...
0:29:16 > 0:29:19The people feel it's their theatre.
0:29:19 > 0:29:23Their ownership consists of turning up to see stuff.
0:29:23 > 0:29:25That's where they're the major shareholders,
0:29:25 > 0:29:27they come and they see the plays,
0:29:27 > 0:29:31and I have seen plays where people have queued round the block.
0:29:31 > 0:29:33I don't see that in too many theatres.
0:29:38 > 0:29:40Went to see Ken Dodd. A legend.
0:29:41 > 0:29:43Well...he is.
0:29:43 > 0:29:45He is a legend.
0:29:45 > 0:29:46One of the greats.
0:29:46 > 0:29:49People don't realise that people like me,
0:29:49 > 0:29:52they don't pay me any wages.
0:29:52 > 0:29:54Yeah, now look at that shocked expression there.
0:29:54 > 0:29:56Shocked, horror.
0:29:56 > 0:29:57No, they don't pay.
0:29:57 > 0:30:00We always come in on a gamble.
0:30:00 > 0:30:01You see, you come in on a gamble.
0:30:01 > 0:30:06You get a share of the audience you pull in.
0:30:06 > 0:30:09I get my share, and Iain Gordon gets his share.
0:30:09 > 0:30:10I think his share's too big.
0:30:10 > 0:30:14But he does get his. He demands his share, believe me.
0:30:14 > 0:30:20He is the secret of the current success in the last 20 years
0:30:20 > 0:30:24of the...of the theatre, and it not being dark.
0:30:24 > 0:30:28The expression "being dark" is when it's not being used,
0:30:28 > 0:30:29and it's in darkness,
0:30:29 > 0:30:32but Iain has done a great job.
0:30:32 > 0:30:35I used to say that if it hadn't been...
0:30:35 > 0:30:37If it wasn't for...Iain Gordon,
0:30:37 > 0:30:39you wouldn't have a Pavilion Theatre, but actually,
0:30:39 > 0:30:41I think the truth is, if it wasn't for him.
0:30:41 > 0:30:44you wouldn't have light entertainment any more in Glasgow.
0:30:48 > 0:30:52With six weeks to go, the choreographers, Robert and Lynsey,
0:30:52 > 0:30:53have come into the Pavilion
0:30:53 > 0:30:57to agree on the music for the dance sequences with Iain.
0:30:57 > 0:30:59Is this in it? He needs to get that in it.
0:30:59 > 0:31:01MUSIC: "Gangnam Style" by Psy
0:31:01 > 0:31:04That's the one that I wanted for the Munchkins.
0:31:04 > 0:31:05How long do you want that to be, Iain?
0:31:05 > 0:31:08I'd say we're looking at a couple of minutes, really.
0:31:08 > 0:31:10There's loads to do. I mean, this is also the first time
0:31:10 > 0:31:12that me and Lynsey have choreographed together.
0:31:12 > 0:31:15MUSIC: "Bom Bom" by Sam And The Womp
0:31:15 > 0:31:18They're...they're quite similar, in terms of beat.
0:31:18 > 0:31:21You could easily put them together with that in the middle.
0:31:21 > 0:31:22I'm working with the children,
0:31:22 > 0:31:24and Lynsey's working with the professionals.
0:31:24 > 0:31:26To join the two together will be the first time
0:31:26 > 0:31:29they'll have joined together, and that we've joined together,
0:31:29 > 0:31:31it's my first time working with Iain...
0:31:31 > 0:31:33So, it's a lot of first-time experiences,
0:31:33 > 0:31:35which is going to make it a big challenge.
0:31:35 > 0:31:38Fairy comes on and goes, "Blah, blah, blah, spell!"
0:31:38 > 0:31:41So, when she does the spell and everyone appears,
0:31:41 > 0:31:43you just want it... You want it full pelt?
0:31:43 > 0:31:47I think for it to be successful, there has to be a main person
0:31:47 > 0:31:50to keep track of the story plot and the visual.
0:31:50 > 0:31:52I think that's what's good about Iain,
0:31:52 > 0:31:54that he's very strong on what he wants,
0:31:54 > 0:31:56and makes everyone stick to the story plot,
0:31:56 > 0:31:59and I think that's what's going to make it successful.
0:31:59 > 0:32:00'What's left to do?'
0:32:03 > 0:32:05Eh, write the script! HE LAUGHS
0:32:07 > 0:32:09No, I've not seen the script yet.
0:32:09 > 0:32:11Probably don't really get to see it
0:32:11 > 0:32:13until a week before it, if we're lucky.
0:32:13 > 0:32:14I'm sure we'll get it in the next few days.
0:32:14 > 0:32:16As far as I'm aware,
0:32:16 > 0:32:18we get our scripts three weeks before rehearsals start.
0:32:18 > 0:32:21As yet, we haven't got the script for the panto.
0:32:21 > 0:32:22You could give them it a year early,
0:32:22 > 0:32:27and they still won't look at it until about two days before they open.
0:32:27 > 0:32:31I tend to look at a panto and I say, "What is my audience, first of all?"
0:32:31 > 0:32:35My audience is anything from five years old to 95 years old,
0:32:35 > 0:32:39so you've got to cast something for everybody.
0:32:39 > 0:32:42Shebahn is younger, the kids know her.
0:32:42 > 0:32:46Johnny Mac is probably the 35 to 40-year-old mark.
0:32:46 > 0:32:48The older audience remember Jimmy
0:32:48 > 0:32:50when he played a young boy in High Road.
0:32:50 > 0:32:54So, I think the secret is getting something in for all ages.
0:32:54 > 0:32:56And that's why they're all in there.
0:32:56 > 0:32:59They're all in there for a specific reason.
0:32:59 > 0:33:02A big part of any pantomime is the music.
0:33:02 > 0:33:05Today, Iain is going through the script with the band.
0:33:06 > 0:33:08They'll just go, "Hey, Munchkin!"
0:33:08 > 0:33:11and do more of the dancing, and just prance about.
0:33:11 > 0:33:14- Straight into the bom-bom thing? - Yeah.
0:33:14 > 0:33:17So, we're just waiting for one other person, who's usually late.
0:33:17 > 0:33:20We'll get him to come in and out the door about four times.
0:33:20 > 0:33:22HE LAUGHS
0:33:22 > 0:33:25We'll tell him the first time he's not smiling enough.
0:33:25 > 0:33:27Then we'll tell him he's smiling too much.
0:33:30 > 0:33:32- Then we'll just tell him he's a fat- BLEEP.
0:33:32 > 0:33:34THEY LAUGH Sorry.
0:33:34 > 0:33:36KNOCK AT DOOR Yeah?
0:33:37 > 0:33:39Come in.
0:33:40 > 0:33:43Eh, could you do that again for filming?
0:33:43 > 0:33:46Could you just open the door, right, to thingy,
0:33:46 > 0:33:49and then just kind of... "Oh, how are you doing, boys?"
0:33:53 > 0:33:54Stand by.
0:33:54 > 0:33:56Action!
0:33:56 > 0:33:57Hello!
0:33:57 > 0:33:59- How are you doing?- All right?
0:33:59 > 0:34:01Nice to see you. Nice to see you, guys.
0:34:01 > 0:34:03Was that all right, or do you want to...?
0:34:03 > 0:34:05Nah, I think we're doing it again.
0:34:05 > 0:34:07- Too cheery.- Aye, too cheery.
0:34:07 > 0:34:09Right. Stand by. And, action.
0:34:10 > 0:34:13Hi, guys. How are you doing? All right?
0:34:13 > 0:34:14- You're- BLEEP- late.
0:34:14 > 0:34:16LAUGHTER
0:34:17 > 0:34:22He goes into the pit in November, and comes out five stone in January.
0:34:22 > 0:34:24THEY CHUCKLE
0:34:24 > 0:34:28What he does is he feeds himself up the now, so he's got plenty stamina.
0:34:28 > 0:34:31First one's Over The Rainbow.
0:34:31 > 0:34:33There's a video sequence that goes along with this.
0:34:33 > 0:34:36Next on that page is the River City play-on.
0:34:36 > 0:34:38Strawsuit Bob.
0:34:38 > 0:34:40Let me look into my crystal ball...
0:34:40 > 0:34:42That thing that you've got, Ray, "Oo-oo-ooh!"
0:34:42 > 0:34:44Oh, right, yeah.
0:34:44 > 0:34:47Next page. Just tell me if I'm going too fast.
0:34:47 > 0:34:50We'll do a wee thing here with Michelle McManus,
0:34:50 > 0:34:54where she goes, "What does Glinda like?" or something,
0:34:54 > 0:34:56and they say, "A glass of wine and a fish supper,"
0:34:56 > 0:34:59and she never appears, and then she really shouts it,
0:34:59 > 0:35:01"A glass of wine and a fish supper," and she appears.
0:35:01 > 0:35:02Uh huh. Yeah.
0:35:04 > 0:35:07She'll be a wonderful fairy. Can you just see her?
0:35:07 > 0:35:08She'll give it.
0:35:08 > 0:35:10She's going to give it. I just know she will.
0:35:10 > 0:35:14As a little girl, Dorothy Paul had to be my idol.
0:35:14 > 0:35:17I'm glad if I have, in any way, sort of inspired her,
0:35:17 > 0:35:21then that's what the older professionals are for.
0:35:21 > 0:35:23We should all be doing that.
0:35:23 > 0:35:26I'd never heard anyone famous with a Scottish accent.
0:35:26 > 0:35:29- Look at the state of me. - LAUGHTER
0:35:29 > 0:35:30A cheeky so-and-so there says,
0:35:30 > 0:35:32"Are you making your first Holy Communion?"
0:35:32 > 0:35:35And I couldn't believe that someone like...
0:35:35 > 0:35:38with a Scottish accent, that spoke like me, could be SO famous.
0:35:38 > 0:35:40And if you look at the Mrs Brown's Boys as well,
0:35:40 > 0:35:43that was in the Pavilion years and years before
0:35:43 > 0:35:45it ever got picked up for telly.
0:35:46 > 0:35:51I literally walked in off the street to this little bald poison dwarf...
0:35:53 > 0:35:56..and said, "Look, I've got this show,
0:35:56 > 0:35:58"and I think if you give it a go,
0:35:58 > 0:36:00"it'll take a million at the box office."
0:36:00 > 0:36:03The week before we opened for the first time, it was panic stations,
0:36:03 > 0:36:05because he rang me on the Wednesday,
0:36:05 > 0:36:07we were opening the following Tuesday,
0:36:07 > 0:36:09and he rang me on the Wednesday and said,
0:36:09 > 0:36:12"This isn't selling. I mean...I mean, there's NO sales."
0:36:12 > 0:36:17"We've got about 80 for the first night and about 70 for the second."
0:36:17 > 0:36:18So I said, "Well...
0:36:18 > 0:36:21"do a two-for-one and comp it out."
0:36:23 > 0:36:24And we did.
0:36:24 > 0:36:27And then on the Wednesday, about lunchtime, he rang me and said,
0:36:27 > 0:36:30"Just to let you know, we'll do 20,000 at the box office today."
0:36:31 > 0:36:32And...and it was a hit.
0:36:33 > 0:36:35And thus began...
0:36:37 > 0:36:39..a beautiful relationship.
0:36:39 > 0:36:41Mrs Brown did more bringing people to theatre
0:36:41 > 0:36:45than any show that I've ever done in my whole life.
0:36:45 > 0:36:47Mrs Brown's a phenomenon.
0:36:47 > 0:36:49When we had had a TV series and it was a hit,
0:36:49 > 0:36:51and all of a sudden it was a number one show,
0:36:51 > 0:36:55and everybody was talking about Mrs Brown, Mrs Brown, Mrs Brown...
0:36:55 > 0:36:57We came back and we played the Pavilion.
0:36:58 > 0:37:00Because, A, that's where we started,
0:37:00 > 0:37:03and, B...we owed them.
0:37:03 > 0:37:05We owed them big time.
0:37:12 > 0:37:14So, after weeks of preparation,
0:37:14 > 0:37:17Iain arrives to rehearse the cast for the first time.
0:37:17 > 0:37:21I've got the biscuits. That's the only thing that's important.
0:37:21 > 0:37:23No script. No anything. Just the biscuits.
0:37:23 > 0:37:24Nice to see Lynsey early.
0:37:24 > 0:37:27This is the first time I've ever seen Lynsey early.
0:37:27 > 0:37:29We're off to see the Wizard!
0:37:29 > 0:37:31First day at school, here I am.
0:37:31 > 0:37:33- All right, how you doing? - 'Looking forward to today?'- Aye.
0:37:33 > 0:37:35Oh, yes, you'd better believe it.
0:37:35 > 0:37:36- 'Do you know your script?' - Easy, mate.
0:37:36 > 0:37:39I think the words were, "Familiarise yourself with the script,"
0:37:39 > 0:37:42and I have familiarised myself with it.
0:37:42 > 0:37:44It's a wee bit new for me, cos I'm the newbie.
0:37:44 > 0:37:45They all know each other.
0:37:45 > 0:37:47MACHINE BEEPS
0:37:47 > 0:37:48Access denied.
0:37:48 > 0:37:51Well, I guess I'm not going to get to know the cast then.
0:37:51 > 0:37:53Now, this place is busy this morning, eh?
0:37:53 > 0:37:55They're all here for us, you see.
0:37:55 > 0:37:58Getting ready for the pantomime.
0:37:58 > 0:37:59See you later.
0:37:59 > 0:38:03Oh, don't do an Anneka Rice on me and get a bum shot.
0:38:03 > 0:38:06That's not very Christmassy, is it, terrifying people with my bum?
0:38:06 > 0:38:10This is what's called bonding together. Bonding together.
0:38:10 > 0:38:12I'm genuinely nervous this morning. First day of it all.
0:38:12 > 0:38:14I heard you on the radio!
0:38:14 > 0:38:17This is Susie, stage management. This is Iona, wardrobe.
0:38:17 > 0:38:18I'm Iain. I'm the boss.
0:38:18 > 0:38:20What's that? What's that?
0:38:20 > 0:38:22It's what we call a script in the business.
0:38:22 > 0:38:24Everybody turned their phones off?
0:38:24 > 0:38:27First thing, yeah? Phones, all off.
0:38:27 > 0:38:30Put them back on again two weeks on Friday.
0:38:30 > 0:38:32As Iain lays down the law with the cast,
0:38:32 > 0:38:36next door, Robert and Lynsey start work with the professional dancers.
0:38:37 > 0:38:38'How's the dance department today?'
0:38:38 > 0:38:41We are very well, thank you.
0:38:41 > 0:38:44We've been working really hard. Aye, it's looking good.
0:38:44 > 0:38:46So, exciting stuff.
0:38:46 > 0:38:47"Come on, everybody!"
0:38:47 > 0:38:49Come on, everybody! This is not Emmerdale.
0:38:49 > 0:38:52We've no time for singing or dancing or standing down the pub.
0:38:52 > 0:38:55You lot have got poo... dung, even... to shift.
0:38:55 > 0:38:57HE SHOUTS: "Come on, you lot!"
0:38:57 > 0:38:58- Just be busy on it, you know? - Right, OK.
0:38:58 > 0:39:00"Come on, you lot!" You've got...whatever.
0:39:00 > 0:39:03Blah, blah.. "You've got dung to shift! Poo!"
0:39:03 > 0:39:05Right? THEY GROAN
0:39:05 > 0:39:08"Dorothy! Dorothy, where are you?" And you'll meet her....
0:39:08 > 0:39:10See, where are they useless farmhands of mine?
0:39:10 > 0:39:13- Here I am! - HE HUMS TUNE
0:39:13 > 0:39:15- ..to sing this song. - Nothing like that.
0:39:15 > 0:39:17Will you stop singing that song?!
0:39:17 > 0:39:20The song goes... HE HUMS DIFFERENT TUNE
0:39:20 > 0:39:22- I'll get you the song.- OK. - LAUGHTER
0:39:23 > 0:39:26One, two, three, four, five, and seven.
0:39:26 > 0:39:30The boy needs to make it look like he's...leading the girl.
0:39:30 > 0:39:32Bam, bam, bam-a-bam, and look at her and drop.
0:39:32 > 0:39:34I'll just walk straight up to her and...
0:39:34 > 0:39:36- Chest up, take your time with it. - ..and say...
0:39:36 > 0:39:40That's it, you're nearly having a lion's roar there,
0:39:40 > 0:39:42to get that you're the lion later on.
0:39:42 > 0:39:46- FORCEFULLY:- I'll- just walk up to her, and- I'll- say...
0:39:46 > 0:39:48- I'll- just walk up to her and say,
0:39:48 > 0:39:52"So, you think you can steal my wee Toto away?"
0:39:52 > 0:39:56- "Dorothy!" And "Ah!- BLEEP!"- Panic.
0:39:56 > 0:39:57Well, well, take that wee dog away!
0:39:57 > 0:39:59HE GROANS
0:39:59 > 0:40:02You are nae use, you. You've got nae courage!
0:40:02 > 0:40:04Just throw him...throw him back up.
0:40:05 > 0:40:07That's it, that's it. Go on, Lynsey!
0:40:09 > 0:40:10Up, and back bend!
0:40:12 > 0:40:15Aye, well, youse say I've nae brain, but I can think,
0:40:15 > 0:40:17and I think things might not be as bad as what you think.
0:40:17 > 0:40:19That's what I think.
0:40:19 > 0:40:21And I think I'm right about what I think.
0:40:21 > 0:40:22What do you think?
0:40:22 > 0:40:23You're no' paid to think.
0:40:23 > 0:40:25That's quick. "You're no' paid to think."
0:40:25 > 0:40:27Dorothy, you see...
0:40:27 > 0:40:31They say I've got nae courage, but YOU'VE got courage,
0:40:31 > 0:40:33and somewhere over that rainbow,
0:40:33 > 0:40:37your dreams will all come true.
0:40:37 > 0:40:38OK.
0:40:38 > 0:40:39Wonderful.
0:40:39 > 0:40:41Right, see you two weeks on Wednesday.
0:40:41 > 0:40:43THEY LAUGH
0:40:43 > 0:40:45Call Dean Park's agent, get rid of him.
0:40:45 > 0:40:46HE LAUGHS
0:40:46 > 0:40:49It's like your first day of school. Again. That's what it's like.
0:40:49 > 0:40:52My friend, Michelle.
0:40:52 > 0:40:54We share a pencil case.
0:40:54 > 0:40:57We're going to have to hold hands when we go into the playground
0:40:57 > 0:40:58and go to the toilet and stuff.
0:40:59 > 0:41:02Oh, I've not done my nails. Can't zoom in there.
0:41:02 > 0:41:03I've not done mine either.
0:41:03 > 0:41:04It's always the same at this stage.
0:41:04 > 0:41:06It's just a building stage at this stage.
0:41:06 > 0:41:09You know, you just build it up in sections, put it all together,
0:41:09 > 0:41:12music, costumes, scenery and all the rest of it.
0:41:12 > 0:41:13This is only a small part of it.
0:41:13 > 0:41:16First scene's went well, man, aye. We've...got through it.
0:41:16 > 0:41:19No mess-ups, we know our lines, everything's been good, man.
0:41:19 > 0:41:22- It can only be downhill from here on in.- Exactly, exactly.
0:41:25 > 0:41:26As with previous years,
0:41:26 > 0:41:29the success of this year's panto is critical to the Pavilion.
0:41:32 > 0:41:33Unlike other Glasgow theatres,
0:41:33 > 0:41:36it's not a registered charity, council-owned,
0:41:36 > 0:41:39or part of a large entertainment group,
0:41:39 > 0:41:42and so far, Iain has been unsuccessful
0:41:42 > 0:41:45in applying for any grants or subsidies.
0:41:45 > 0:41:49I see every other venue in Glasgow getting funding.
0:41:50 > 0:41:53Some to the tune of £10 million a year.
0:41:53 > 0:41:57I don't know where they spend their money, to be honest with you.
0:41:57 > 0:42:00But, yeah, I mean, our box office pays the bills.
0:42:00 > 0:42:03The customers pay the bills.
0:42:03 > 0:42:06Most theatres are subsidised for failure.
0:42:06 > 0:42:11You will get a six-week rehearsal period now.
0:42:11 > 0:42:13If you blow it, who cares?
0:42:13 > 0:42:16You get a bad crit in The Herald, and that's it.
0:42:16 > 0:42:20Nobody bothers. Nobody loses their job, the theatre doesn't close.
0:42:20 > 0:42:24Here, if they get it badly wrong too many times,
0:42:24 > 0:42:26the theatre would have closed.
0:42:26 > 0:42:29I get angry. When somebody asks me, yeah, I get angry.
0:42:29 > 0:42:32But I don't... I don't...
0:42:32 > 0:42:35I forget about it within half an hour and move on to something else.
0:42:35 > 0:42:37But it would be nice to get funding.
0:42:37 > 0:42:40We could maybe do something within the auditorium.
0:42:40 > 0:42:43We could do with spending two months next summer scaffolding it,
0:42:43 > 0:42:44and do the ceiling.
0:42:44 > 0:42:48Cos you're...you're keeping the fabric of the building
0:42:48 > 0:42:50for years to come in Glasgow.
0:42:50 > 0:42:51But I don't...
0:42:51 > 0:42:54They'll never come round to giving the Pavilion anything,
0:42:54 > 0:42:56- the- BLEEP! - HE LAUGHS
0:43:01 > 0:43:03It's the end of the first week of rehearsals,
0:43:03 > 0:43:06and Iain turns his attention to the singers.
0:43:06 > 0:43:07# You left me broken down
0:43:07 > 0:43:09# Think that I'd come running back
0:43:09 > 0:43:10# Maybe you don't know me
0:43:10 > 0:43:12# Cos you're dead wrong
0:43:13 > 0:43:15# What doesn't kill you makes you stron... #
0:43:15 > 0:43:18I can't get there. It's far too high.
0:43:18 > 0:43:20Oh, is that right? OK. Let's take it down.
0:43:20 > 0:43:23Michelle'll give you a wee...
0:43:23 > 0:43:26# What doesn't kill you makes you stronger... #
0:43:26 > 0:43:28Is that still too high?
0:43:28 > 0:43:30There is some range in that song, I have to say.
0:43:30 > 0:43:33# What doesn't kill you makes you stronger. #
0:43:33 > 0:43:34If you record it on your iPhone,
0:43:34 > 0:43:36I'll sing that verse so you've got it at home,
0:43:36 > 0:43:39- so you know that it goes up. - So, it's...?
0:43:39 > 0:43:41# The bed feels warmer
0:43:41 > 0:43:44# Sleeping here alone... #
0:43:44 > 0:43:47'Yeah, theatre's very tight at the moment,
0:43:47 > 0:43:50'like all businesses at the moment, theatre's...suffering.'
0:43:53 > 0:43:55'There's some lean months throughout the year.
0:43:55 > 0:43:59'So, panto keeps you going from that, it funds other things.
0:43:59 > 0:44:02'Refurbishing the seats, putting new carpets in,'
0:44:02 > 0:44:03doing the dressing rooms,
0:44:03 > 0:44:06making the place a bit better stage by stage,
0:44:06 > 0:44:10so, yeah, panto...panto funds...funds everything.
0:44:10 > 0:44:13Underscore it underneath the dialogue, and give you a definite...
0:44:15 > 0:44:20# Somewhere over the rainbow
0:44:20 > 0:44:26# Way up high...
0:44:26 > 0:44:32# There's a land that I've heard of
0:44:32 > 0:44:38# Once in a lullaby. #
0:44:38 > 0:44:40And then she goes, "Dorothy!"
0:44:40 > 0:44:41"Yuk!"
0:44:41 > 0:44:44Yes, Johnny, yes you're fine with...
0:44:44 > 0:44:45Oh, I think we should hear it!
0:44:45 > 0:44:50Yeah, yeah, fine. I think we should see that and hear it.
0:44:50 > 0:44:52- Oh, let's hear it!- Come on, Johnny!
0:44:54 > 0:44:57# Slide some to my elbows
0:44:57 > 0:44:59# And to my fingers if... #
0:44:59 > 0:45:01HE MUMBLES
0:45:01 > 0:45:05# Slide some oil to me, girl
0:45:05 > 0:45:08# Whoa, that feels good! #
0:45:12 > 0:45:14- APPLAUSE - Aww, thanks!
0:45:14 > 0:45:17# If ever a Wiz, a Wiz there was
0:45:17 > 0:45:19# The Wizard of Oz is one because
0:45:19 > 0:45:24# Because, because, because, because, because...
0:45:24 > 0:45:26# Because of the wonderful things he does... #
0:45:28 > 0:45:32The cast have just come in this week. I mean, I've done a full...
0:45:32 > 0:45:34full first half of the show in less than a week.
0:45:34 > 0:45:38# You gave me the will to carry on.
0:45:41 > 0:45:44# No, we've come a long, long way... #
0:45:44 > 0:45:46And I think there's just been so much energy
0:45:46 > 0:45:49with the new people in the cast coming into this production
0:45:49 > 0:45:53that have just energised the old ones that were here,
0:45:53 > 0:45:56so we've went out the door yesterday thinking, "God..."
0:45:56 > 0:45:59Four o'clock yesterday, we've said, "That's great, we're ready to go."
0:45:59 > 0:46:02And we could have put Act One on the stage yesterday.
0:46:03 > 0:46:04And that's unusual.
0:46:04 > 0:46:07So, let's hope next week's the same.
0:46:07 > 0:46:12# ...all this time. #
0:46:12 > 0:46:14THEY CHEER
0:46:27 > 0:46:29With time running out to opening night,
0:46:29 > 0:46:33Iain moves the rehearsals onto the stage of the Pavilion.
0:46:33 > 0:46:35We've not done anything like this with the cast?
0:46:35 > 0:46:38We've done it in the rehearsal room, but never on the stage.
0:46:38 > 0:46:41- Right, OK. We'll run the track and then we'll stop and start, yeah?- OK.
0:46:42 > 0:46:44'What's today about, Iain?'
0:46:44 > 0:46:47Eh, about getting the cast onto the set.
0:46:47 > 0:46:50First time they've really seen it. Act Two.
0:46:50 > 0:46:51So, it's getting them on,
0:46:51 > 0:46:53going through all the safety stuff with them
0:46:53 > 0:46:56and letting them run it, and letting them see what they've...
0:46:56 > 0:46:59what comes alive from the rehearsal room to here,
0:46:59 > 0:47:00cos it completely changes it.
0:47:00 > 0:47:04It also lets the crew see when there's cast about now, you know.
0:47:04 > 0:47:07See what works and what doesn't work. And then we panic.
0:47:07 > 0:47:10One, two, three, four, five, six, and grab that hand,
0:47:10 > 0:47:12seven, eight, and then I come into you.
0:47:12 > 0:47:13Should we start like this, Lynz?
0:47:13 > 0:47:15Yeah, hands up.
0:47:15 > 0:47:16OK, we all ready?
0:47:16 > 0:47:17Yeah!
0:47:17 > 0:47:19OK, here we go, folks!
0:47:19 > 0:47:21Right, here we go.
0:47:25 > 0:47:28MUSIC: "Good Time" by Owl City and Carly Rae Jepsen
0:47:34 > 0:47:36# It's always a good time... #
0:47:40 > 0:47:42# We don't even have to try
0:47:42 > 0:47:43# It's always a good time. #
0:47:44 > 0:47:47Applause, applause, applause!
0:47:47 > 0:47:48End positions.
0:47:48 > 0:47:50Always a good time. Big finish, yay!
0:47:50 > 0:47:52THEY CHEER
0:47:52 > 0:47:54We're sharing a dressing room together, so try to get...
0:47:54 > 0:47:56I know, I know it gets...
0:47:56 > 0:47:57Are you two sharing?
0:47:57 > 0:47:59- Aye.- Awww!
0:47:59 > 0:48:01We asked for it. It was in my contract. I asked for it, aye.
0:48:01 > 0:48:04- Aww, that's the sweetest thing ever! - Aye, golden handcuffs.
0:48:04 > 0:48:06- CAMERAMAN:- Your dress looks amazing, Michelle.
0:48:06 > 0:48:07Oh, does it look good?
0:48:07 > 0:48:11I think it's me that looks amazing, possibly not the dress.
0:48:11 > 0:48:13I think it's the way I'm wearing it.
0:48:13 > 0:48:15Today's not just about song and dance.
0:48:15 > 0:48:18There are also safety issues for the cast to consider.
0:48:18 > 0:48:20..and there's a pyro coming off behind it,
0:48:20 > 0:48:23- if you know what I mean. So, pyro and...- Cue on.- Yeah?
0:48:23 > 0:48:27Because we'll...we'll have to check that you're nowhere near it
0:48:27 > 0:48:30- before we fire it. - Of course, no problem at all.
0:48:30 > 0:48:31So that's it, nice wee poof.
0:48:34 > 0:48:37Let's get to Emerald City. We've not got far to go now!
0:48:43 > 0:48:46# You're on the road tae nowhere. #
0:48:46 > 0:48:48You've gone far enough.
0:48:48 > 0:48:49Well, thank you all very much
0:48:49 > 0:48:52for blowing away the poison from the field of poppies,
0:48:52 > 0:48:54but your pathetic huffing has been all in vain,
0:48:54 > 0:48:57cos I've still got some here. Ha ha!
0:48:57 > 0:49:00Here, is that a poke of chips you've got?
0:49:00 > 0:49:02Poppies! Sniffety-sniffety-sniff.
0:49:04 > 0:49:06Get it right up your beaks! Ho ho ho!
0:49:06 > 0:49:08SHE CACKLES
0:49:10 > 0:49:11Boom.
0:49:11 > 0:49:13I says a poke of chips.
0:49:13 > 0:49:15How do I mistake that for a poke of chips?
0:49:15 > 0:49:17- Joycey?- Aye?
0:49:17 > 0:49:18- You saw that there?- Aye.
0:49:18 > 0:49:20This big bit of white tape round about it.
0:49:20 > 0:49:22Everybody needs to watch these pyros.
0:49:22 > 0:49:25You shouldn't be anywhere near these corners. Right?
0:49:25 > 0:49:28The band for the panto aren't in view of the stage.
0:49:28 > 0:49:32In actual fact, they're set up right underneath it.
0:49:33 > 0:49:36- The forgotten threesome down here. - HE CHUCKLES
0:49:36 > 0:49:39Everybody, do we feel detached from the panto?
0:49:39 > 0:49:40Yes.
0:49:42 > 0:49:46Camera in the circle, and it gets fed down to that monitor over there.
0:49:46 > 0:49:49We can see everything that's going on on the stage.
0:49:49 > 0:49:51Step out the road! Let the dog see the rabbit.
0:49:54 > 0:49:56Dean, it's got three rings there.
0:49:56 > 0:49:59Dean's noise wants to be the loudest at the start.
0:49:59 > 0:50:02It wants to be a really big DONG...
0:50:02 > 0:50:06And then Shebahn's was meant to be ding-dong, ding-dong, ding-dong,
0:50:06 > 0:50:07cos she was a girl.
0:50:08 > 0:50:12And then Tin Man was supposed to sound like an empty oil can.
0:50:13 > 0:50:15Seeing as he's a Tin Man.
0:50:15 > 0:50:17But it says bell out of order, please knock.
0:50:17 > 0:50:18Yeah, but, that's the funny bit about it.
0:50:18 > 0:50:20That's what's funny.
0:50:20 > 0:50:21That's another bell.
0:50:24 > 0:50:26DRUM CRASHES
0:50:26 > 0:50:28No! That's a snare drum.
0:50:28 > 0:50:29TINKLING
0:50:29 > 0:50:31Here, he's doing it again.
0:50:31 > 0:50:36No, it's... See that wee effects pad you've got in front of you,
0:50:36 > 0:50:38with three million different effects on it?
0:50:38 > 0:50:39DRUM CRASHES
0:50:39 > 0:50:41Yeah, that'll do the now.
0:50:41 > 0:50:43This is the time when you start to doubt yourself,
0:50:43 > 0:50:45if you've ever told anybody anything,
0:50:45 > 0:50:48when you have to repeat yourself about 20 times
0:50:48 > 0:50:50and they suddenly go, "Oh, that's what you mean!"
0:50:50 > 0:50:52DRUM CRASHES
0:51:06 > 0:51:09So, after months of preparation and weeks of rehearsal,
0:51:09 > 0:51:11it's finally opening night,
0:51:11 > 0:51:13and as the audience take to their seats,
0:51:13 > 0:51:16the Pavilion cast and crew get ready
0:51:16 > 0:51:19for their first performance of the Wizard of Never Woz.
0:51:22 > 0:51:24Hello! We're half ready.
0:51:24 > 0:51:27- CAMERAMAN:- Are you decent? - Yeah, we're decent. In you come.
0:51:27 > 0:51:29Welcome to our dressing room.
0:51:29 > 0:51:31This is sexy Aunt Em.
0:51:31 > 0:51:33Hi, there.
0:51:33 > 0:51:36Try and control yourselves at how sexy Aunt Em is.
0:51:36 > 0:51:37Hello.
0:51:37 > 0:51:40Just, eh...we've rehearsed for two weeks without an audience
0:51:40 > 0:51:43and now it's time to get that extra person in the pantomime,
0:51:43 > 0:51:46the audience, and find out if it works, if we're funny.
0:51:46 > 0:51:48Everything's went smoothly. Hopefully it keeps going.
0:51:48 > 0:51:50With an audience, it can only be better.
0:51:50 > 0:51:53The audience at the Pavilion is always great, so I'm really excited.
0:51:55 > 0:51:57Hi, wish us luck!
0:51:57 > 0:51:59This is when I want to go home now.
0:51:59 > 0:52:01I want my mammy!
0:52:01 > 0:52:03- I'm here, son.- I want my mammy!
0:52:03 > 0:52:04Do my mics look OK?
0:52:04 > 0:52:06Be good.
0:52:06 > 0:52:09Have fun, see you later. I'll be watching you!
0:52:23 > 0:52:29# Somewhere over the rainbow
0:52:29 > 0:52:36# Way up high
0:52:36 > 0:52:43# There's a land that I've heard of
0:52:43 > 0:52:48# Once in a lullaby. #
0:52:51 > 0:52:53I'm quite nervous actually, yeah. Yeah.
0:52:53 > 0:52:57As you see, I've got a lovely array of wigs here.
0:52:57 > 0:53:00I've got some tooth putty here.
0:53:00 > 0:53:03And, basically, I just dry my tooth...
0:53:03 > 0:53:05It basically just sticks on.
0:53:05 > 0:53:06I can do it.
0:53:06 > 0:53:09- Right, where is Leo?- Oh! He's in...
0:53:09 > 0:53:11I'm here, I'm here, I'm right here!
0:53:11 > 0:53:13Get me out! Get me out of here!
0:53:13 > 0:53:15HE SCREAMS
0:53:15 > 0:53:16Come on, Biggy, get up!
0:53:16 > 0:53:20- Watch yourself. Watch yourself. - Oi, you, watch my kilt there!
0:53:21 > 0:53:23You watch it, you.
0:53:23 > 0:53:26I'm here, I'm here. Hello, everybody!
0:53:26 > 0:53:28ALL CHEER
0:53:28 > 0:53:30Throw him in the Clyde!
0:53:31 > 0:53:33- 'How are you doing?' - Terribly well, terribly well.
0:53:33 > 0:53:36Sitting back, listening to other people working,
0:53:36 > 0:53:38it's the most pleasant experience in the world.
0:53:44 > 0:53:46What does she like?
0:53:46 > 0:53:49Glasses of wine and a fish supper!
0:53:49 > 0:53:51DRUM ROLL
0:53:51 > 0:53:52Eh?
0:53:52 > 0:53:54I said...
0:53:54 > 0:53:57glasses of wine and a fish supper!
0:53:57 > 0:53:58TINKLING, MAGICAL MUSIC
0:54:02 > 0:54:04Did someone mention glasses of wine?
0:54:04 > 0:54:07Yes, several times. You're pure well late, by the way.
0:54:07 > 0:54:11No, I am not! I always appear sharp, on the hour.
0:54:11 > 0:54:13Aye, with a wee glass of wine or two!
0:54:15 > 0:54:17That's us.
0:54:17 > 0:54:20Even though I know the script inside out now, still,
0:54:20 > 0:54:22my head's still jumble-mumbled up.
0:54:22 > 0:54:25Aye. The stakes rise a wee bit when the crowd are in.
0:54:25 > 0:54:28# Get 'em up, going down
0:54:28 > 0:54:29# Ease on down
0:54:29 > 0:54:32# Get 'em up, going down
0:54:32 > 0:54:33# Ease on down
0:54:33 > 0:54:36# Get 'em up, going down
0:54:36 > 0:54:37# Ease on down
0:54:37 > 0:54:39# Get 'em up, get 'em up
0:54:39 > 0:54:42# Ease on down the road. #
0:54:42 > 0:54:44CHEERING AND APPLAUSE
0:54:46 > 0:54:48I'm sweating, man. Oh!
0:54:54 > 0:54:58This theatre's important to me. No other theatre's important to me.
0:54:58 > 0:55:01We don't owe anybody a penny. We own the building outright.
0:55:01 > 0:55:04There's money in the bank to get us by the bad times.
0:55:04 > 0:55:06You know, because there is bad times.
0:55:06 > 0:55:10'Are you worried about the future of the Pavilion at all, Iain?'
0:55:10 > 0:55:11Em...
0:55:13 > 0:55:15No. Yes and no.
0:55:15 > 0:55:17Eh...
0:55:17 > 0:55:20That brought a tear to my eye there. Probably about me.
0:55:28 > 0:55:30Don't know why I did that, eh?
0:55:33 > 0:55:35Yeah, I worry about the theatre.
0:55:35 > 0:55:38I think because it's...it's... For so long it's been me, me, me.
0:55:38 > 0:55:41I'm handing a lot of stuff over now
0:55:41 > 0:55:45to Scott and Jamie and Marie and all these people,
0:55:45 > 0:55:48so they do a lot more than they ever did,
0:55:48 > 0:55:51but I would worry about it without me. Which is...
0:55:52 > 0:55:54..maybe wrong, but maybe right. I don't know.
0:55:54 > 0:55:57Just because I've done so much over the years,
0:55:57 > 0:55:59and I tend to do so much on a daily basis,
0:55:59 > 0:56:02and maybe I should give a wee bit more out to people to...
0:56:03 > 0:56:05..delegate a bit more, and a bit better,
0:56:05 > 0:56:08which I probably am doing now more than ever, you know?
0:56:08 > 0:56:10But I would worry about it, yeah.
0:56:10 > 0:56:14# All this time
0:56:14 > 0:56:18# We've come a long, long way
0:56:18 > 0:56:21# I waited a lifetime for today
0:56:21 > 0:56:25# I've waited and I've waited
0:56:25 > 0:56:28# All this time
0:56:28 > 0:56:32# When everyone else said I was wrong
0:56:32 > 0:56:36# You gave me a reason to be strong
0:56:36 > 0:56:40# And you gave me the will to carry on
0:56:40 > 0:56:44# All this time. #
0:56:44 > 0:56:47CHEERING AND APPLAUSE
0:56:47 > 0:56:49- What a voice you've got, man!- Me?
0:56:49 > 0:56:52- You're phenomenal, man.- Oh, shut up.
0:56:52 > 0:56:53Voice of an angel!
0:57:00 > 0:57:04Bring me the broomstick of the Wicked Witch of the West!
0:57:04 > 0:57:06But, if we do that, we'll have to kill her!
0:57:06 > 0:57:11Bring me her broomstick and I shall grant your request.
0:57:11 > 0:57:12Now, go!
0:57:17 > 0:57:19Good boy...
0:57:19 > 0:57:21You're a hot dog!
0:57:21 > 0:57:23I'm very hot. I'm sweating!
0:57:23 > 0:57:25Your face is all red.
0:57:25 > 0:57:27That's it.
0:57:27 > 0:57:29It's got to be the hardest job I've done for a while.
0:57:29 > 0:57:32And I'm not getting any younger.
0:57:32 > 0:57:35I don't think we should stretch him.
0:57:35 > 0:57:37I think we should shrink him.
0:57:37 > 0:57:39Eh, no, no. I don't want to be any wee-er!
0:57:39 > 0:57:41I would actually rather be taller. No!
0:57:41 > 0:57:43Shrink him! Yes!
0:57:43 > 0:57:44Come on, Egor.
0:57:44 > 0:57:46Is that me done?
0:57:53 > 0:57:55Dorothy's blonde, what the hell?
0:57:55 > 0:57:58Should've had that mince and tatties.
0:57:58 > 0:58:01If we're keeping bums on seats and do the right thing,
0:58:01 > 0:58:03then I'll be here till I snuff it.
0:58:04 > 0:58:06They'll probably carry me down the centre aisle
0:58:06 > 0:58:09and into the boiler room and burn me, you know?
0:58:09 > 0:58:12That'll be the right way to go, you know.
0:58:12 > 0:58:15# Ha, ha, ha, ho, ho, ho
0:58:15 > 0:58:16# And a couple of tra-la-las
0:58:16 > 0:58:18# That's how we laugh the day away
0:58:18 > 0:58:20# In the merry old land In the merry old land
0:58:20 > 0:58:23# In the merry old land of Oz. #
0:58:23 > 0:58:26CHEERING AND APPLAUSE
0:58:51 > 0:58:56Subtitles by Red Bee Media Ltd